As schools publicly modernize in response to societal changes, additional teaching and learning methods are developed, observed, and used since learners have different learning styles that make it easier for them to grasp and retain the material. During the COVID-19 pandemic, teachers require different media to keep the classroom involved while presenting the lesson materials online, one of which is video tutorials. The purpose of this study was to analyze the extent of contextual effects of video tutorials used in general (...) chemistry, determine the relationship between video tutorial effectiveness and the respondents' academic performance, and analyze the significant difference between the four indicators of contextual effects of video tutorials and the respondents' profile. A descriptive-correlational quantitative research design was used in this study. The participants in this study were 144 Grade 12 STEM students from a private school in Sultan Kudarat, Philippines, who took their general chemistry course during the pandemic. The respondents were given a survey questionnaire created with Google Forms. The students agreed with all the assertions and rated them as effective in terms of their perceptions of general chemistry, implying that video tutorials are useful in teaching the subject. With p-values of .023, .046, and .010, respectively, the findings revealed a significant relationship between the overall mean of students' perceptions of the subject of General Chemistry, the concept and application of chemical knowledge and understanding, and their influence on students' academic performance. In terms of their perception, ideas, and application of chemical knowledge and comprehension, the results demonstrated that there is no statistically significant difference between the general mean of male and female students' responses. This basically means that by using video lectures, STEM students of all genders appreciate and understand General Chemistry as a subject. -/- . (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

The relationship of the author’s intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author’s private diaries and life story of committing the ‘fallacy’ of equating the work’s meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author’s intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. This Teaching and Learning Guide lists key readings and suggests how they might be incorporated within a syllabus. It also offers focus questions related to the readings. See also the companion article, Sherri Irvin, “Authors, Intentions and Literary Meaning.” Philosophy Compass 1 (2006), 114-128. (shrink)

What makes it the case that an utterance constitutes an illocutionary act of a given kind? This is the central question of speech-act theory. Answers to it—i.e., theories of speech acts—have proliferated. Our main goal in this chapter is to clarify the logical space into which these different theories fit. -/- We begin, in Section 1, by dividing theories of speech acts into five families, each distinguished from the others by its account of the key ingredients in illocutionary acts. Are (...) speech acts fundamentally a matter of convention or intention? Or should we instead think of them in terms of the psychological states they express, in terms of the effects that it is their function to produce, or in terms of the norms that govern them? In Section 2, we take up the highly influential idea that speech acts can be understood in terms of their effects on a conversation’s context or “score”. Part of why this idea has been so useful is that it allows speech-act theorists from the five families to engage at a level of abstraction that elides their foundational disagreements. In Section 3, we investigate some of the motivations for the traditional distinction between propositional content and illocutionary force, and some of the ways in which this distinction has been undermined by recent work. In Section 4, we survey some of the ways in which speech-act theory has been applied to issues outside semantics and pragmatics, narrowly construed. (shrink)

to appear in Lambert, E. and J. Schwenkler (eds.) Transformative Experience (OUP) -/- L. A. Paul (2014, 2015) argues that the possibility of epistemically transformative experiences poses serious and novel problems for the orthodox theory of rational choice, namely, expected utility theory — I call her argument the Utility Ignorance Objection. In a pair of earlier papers, I responded to Paul’s challenge (Pettigrew 2015, 2016), and a number of other philosophers have responded in similar ways (Dougherty, et al. 2015, Harman (...) 2015) — I call our argument the Fine-Graining Response. Paul has her own reply to this response, which we might call the Authenticity Reply. But Sarah Moss has recently offered an alternative reply to the Fine-Graining Response on Paul’s behalf (Moss 2017) — we’ll call it the No Knowledge Reply. This appeals to the knowledge norm of action, together with Moss’ novel and intriguing account of probabilistic knowledge. In this paper, I consider Moss’ reply and argue that it fails. I argue first that it fails as a reply made on Paul’s behalf, since it forces us to abandon many of the features of Paul’s challenge that make it distinctive and with which Paul herself is particularly concerned. Then I argue that it fails as a reply independent of its fidelity to Paul’s intentions. (shrink)

In this book, law professors Sherry F. Colb and Michael C. Dorf argue that: -/- many non-human animals, at least vertebrates, are morally considerable and prima facie wrong to harm because they are sentient, i.e., conscious and capable of experiencing pains and pleasures; most aborted human fetuses are not sentient -- their brains and nervous systems are not yet developed enough for sentience -- and so the motivating moral concern for animals doesn't apply to most abortions[2]; later abortions affecting (...) sentient fetuses, while rare, raise serious moral concerns, but these abortions -- like all abortions -- invariably involve the interests and rights of the pregnant woman, which can make these abortions morally permissible. For a book claiming to explore the "connections" between debates about the two issues, just the summary from the book flap -- basically, what's above -- makes it appear that there really isn't much connection between the topics, at least at the core ethical level. Animals are sentient, early fetuses are not, and so the moral arguments about the two issues don't overlap or share premises. While the authors hope to use insights from one issue to shed light on the other, I find that differences in the issues limit these insights. (shrink)

ITA: In che modo il nostro cervello è in grado di produrre quel tipo di comportamento flessibile e volto a specifici scopi che chiamiamo intelligenza? Le differenze cognitive tra individui sono dovute a una varietà di abilità mentali o a una sola? Questo articolo discute gli elementi centrali della teoria dell’intelligenza generale proposta da John Duncan nel volume How intelligence happens, tradotto recentemente in italiano e corredato da un capitolo conclusivo inedito. Prendendo le mosse dalla ricerca di Charles Spearman sull’intelligenza (...) generale e sui test d’intelligenza, Duncan caratterizza l’intelligenza nei termini di integrazione e controllo cognitivo. I dati neuroscientifici raccolti da Duncan suggeriscono che questi aspetti chiave del comportamento intelligente siano realizzati da un circuito cerebrale, chiamato multiple-demand system, in grado di scomporre problemi complessi in sotto-problemi più semplici e integrare informazioni da varie aree del cervello. ENG: How does our brain generate that sort of flexible and goal-directed behaviour that we call intelligence? Are individual differences in intelligence due to a variety of cognitive abilities or do they depend on one single mental ability? In this commentary, I revise and critically assess the key elements of John Duncan’s theory of general intelligence presented in the popular-science book How intelligence happens, recently translated into Italian and edited by F. Pavani, with a new final chapter. Starting from Charles Spearman’s research on a general intelligence factor and psychometric tests, Duncan advances a theory that characterises intelligence in terms of integration and cognitive control. Neuropsychological and neuroimaging data suggest that such key aspects of intelligent behaviour are realised by a brain network called a multiple-demand system, which is capable of decomposing complex problems into simpler sub-problems and then integrating information from different brain areas. (shrink)

Il rapporto sacramentale tra presbitero e vescovo non è una questione facilmente risolvibile: basti pensare come tale argomento abbia interrogato ininterrottamente la Chiesa per circa 2000 anni, e come a più riprese il lavoro degli stessi teologi si sia allontanato dai contenuti della preghiera rituale. Il testo mette in luce la problematica riguardante il riconoscimento di un valore sacramentale all’ordinazione episcopale, e lo fa prendendo le mosse dal tempo apostolico e patristico, per passare al Concilio di Trento e al Vaticano (...) I, sino a giungere al Concilio Vaticano II, che in riferimento all’episcopato ha messo in campo l’affermazione più solenne del suo magistero. Tutto questo viene svolto grazie all’analisi dei nodi principali del progressivo dibattito sorto intorno a questo tema e nella complementarietà delle sue più significative influenze: teologiche – e più propriamente ecclesiologiche e liturgiche – canonistiche ed ecumeniche; senza con questo tacere i punti nevralgici che hanno spesso osteggiato la chiara definizione dell’episcopato come sacramento e che ancora richiedono uno studio per un’attuazione pratica nella vita della Chiesa. Oggi dopo le affermazioni del Vaticano II, le discussioni sono tutt’altro che concluse, e il libro – che si avvale della preziosa prefazione di mons. Marcello Semeraro – prova a darne ragione. (shrink)

Il rapporto sacramentale tra presbitero e vescovo non è una questione facilmente risolvibile: basti pensare come tale argomento abbia interrogato ininterrottamente la Chiesa per circa 2000 anni, e come a più riprese il lavoro degli stessi teologi si sia allontanato dai contenuti della preghiera rituale. Il testo mette in luce la problematica riguardante il riconoscimento di un valore sacramentale all’ordinazione episcopale, e lo fa prendendo le mosse dal tempo apostolico e patristico, per passare al Concilio di Trento e al Vaticano (...) I, sino a giungere al Concilio Vaticano II, che in riferimento all’episcopato ha messo in campo l’affermazione più solenne del suo magistero. Tutto questo viene svolto grazie all’analisi dei nodi principali del progressivo dibattito sorto intorno a questo tema e nella complementarietà delle sue più significative influenze: teologiche – e più propriamente ecclesiologiche e liturgiche – canonistiche ed ecumeniche; senza con questo tacere i punti nevralgici che hanno spesso osteggiato la chiara definizione dell’episcopato come sacramento e che ancora richiedono uno studio per un’attuazione pratica nella vita della Chiesa. Oggi dopo le affermazioni del Vaticano II, le discussioni sono tutt’altro che concluse, e il libro – che si avvale della preziosa prefazione di mons. Marcello Semeraro – prova a darne ragione. (shrink)

Il discorso moderno e contemporaneo sulla soggettività prende le mosse dall'opera di René Descartes (1596-1650), universalmente considerato l'iniziatore della filosofia moderna. Improntata ad un severo meccanicismo, la filosofia di Descartes nasce come un tentativo di sostituzione della fisica aristotelica nel curriculum universitario dell’epoca. La fisica, secondo l'ordine degli studi delle università a cavallo fra ‘500 e ‘600, costituito dalle discipline filosofiche e letterarie del trivio e del quadrivio, e da quelle superiori di medicina, diritto e teologia, doveva servire quale premessa (...) per una teoria dell’uomo e dell’essere – trattata seguendo il De anima e la Metaphysica di Aristotele – volta a fornire agli studi superiori strumenti concettuali adeguati ai loro fini. […]. (shrink)

La rinascita negli ultimi decenni di un nutrito dibattito intorno alla nozione di analiticità dopo le critiche a suo tempo mosse da Quine alla batteria di nozioni utilizzate da Rudolf Carnap (ad esempio, postulati di significato, regole semantiche, definizioni implicite, convenzioni e stipulazioni esplicite) prende le mosse da una riflessione critica sulle argomentazioni di Quine e tenta, da un lato, di approfondire meglio il legame fra analiticità e conoscenza a priori, e, dall’altro, di capire meglio il ruolo che la definizione (...) può svolgere nella costituzione del significato e nella formulazione di verità concettuali. Questa nuova concezione è detta “epistemica” ed ha fra i suoi più autorevoli fautori Crispin Wright, Bob Hale e Paul Boghossian. Boghossian, al pari di molti filosofi critici della nuova concezione epistemica, come Timothy Williamson, conviene però con Quine nel sostenere che gli enunciati analitici hanno portata fattuale e vertono anch’essi sul mondo, oltre che sul linguaggio. Anche per questa ragione essi possono rendere possibile una genuina estensione delle nostre conoscenze. Tuttavia una seconda linea di obiezioni facenti capo dapprima a Paul Horwich, e in seguito agli stessi Wright e Hale, mette in evidenza rispettivamente due difficoltà corrispondenti alle questioni dell’arroganza e dell’accettazione. In questa discussione una parte importante è svolta dalla ripresa e della discussione del condizionale di Carnap, impiegato per rendere conto del ruolo che i termini teorici svolgono nel quadro dell’intera teoria cui appartengono, senza con ciò sposare le conseguenze dell’olismo quineano. La tesi centrale che questo lavoro cerca di rendere plausibile è che una lettura attenta degli ultimi scritti di Carnap mostri come il carattere aperto che egli attribuisce ai termini teorici in ragione, sia dello loro intrinseca indeterminatezza, sia delle revisioni imposte dalle scoperte scientifiche, è perfettamente compatibile con la fattorizzazione del contenuto di una teoria scientifica data in una parte linguistica, il condizionale di Carnap, riguardante la costituzione del significato di un certo termine teorico, e nella sua controparte empirica, che consente di registrare l’impatto dell’esperienza sulla teoria in questione. Se praticabile, questa concezione può a buon diritto entrare nel novero delle teorie epistemiche dell’analiticità, senza accampare alcuna pretesa di far rivivere i fasti della conoscenza a priori classica. (shrink)

The author analyzes the interpretation of Boethius’ “timelessness solution” developed in contemporary Analytic Philosophy of Religion, and the main objections that have been moved to it, trying to draw some conclusions about its effectiveness (a) in solving the antinomy between omniscience and human freedom; (b) in weakening the argument of Open Theism. La nuova prospettiva teoretica proposta dall’Open Theism impone un approfondimento e una rivalutazione delle soluzioni “classiche” all’antinomia tra onniscienza divina e libertà umana. Tra queste “soluzioni” vi è, com’è (...) noto, quella di Boezio, ripresa e resa più sofisticata da molti autori nel dibattito contemporaneo, all’interno della filosofia analitica della religione. L’Autore intende analizzare, quindi, l’interpretazione della timelessness solution sviluppata in tale contesto e le principali obiezioni che le sono mosse, cercando di tracciare alcune conclusioni circa la sua efficacia nel risolvere l’antinomia e nell’indebolire le tesi dell’Open Theism. (shrink)

Nel primo paragrafo sarà esaminato l’impianto normativo che regola le pubbliche amministrazioni, riformato dalle l. n. 142 e n. 241 del 1990, dal D.Lgs. 29/1993, dalle “leggi Bassanini” e dalla legge-quadro 150/2000, sia riguardo al diritto di accesso nei confronti dell’attività dell’amministrazione, sia in merito al radicamento di criteri di efficacia, efficienza ed economicità delle policies sia agli strumenti con cui gli Enti locali e cittadini possono comunicare. Gli anni ‘90 segnano l’inizio di un processo volto alla riorganizzazione delle PA (...) a partire dalla centralità della comunicazione istituzionale ma anche della concezione del “diritto all’informazione” nelle tre accezioni di diritto “di informare, “di informarsi” e “essere informati”. La Levi ha ben sottolineato “la rapidità inusuale nella storia nazionale” di tale riforma e la centralità assunta in essa dalle dimensioni dell’informazione, della comunicazione e della partecipazione: "In sintesi, si può ritenere legittimo concludere che le riforme del decennio 1990-2000 abbiano segnato il passaggio dal segreto alla trasparenza e dall’unilateralità alla partecipazione. Le politiche di modernizzazione in tema di comunicazione pubblica e di maggiore trasparenza dell’attività dell’amministrazione si sono mosse verso una più marcata tutela dei diritti dei cittadini e verso l’accentuazione del risultato dell’azione amministrativa" (2004, p. 16). Grandi ha ribadito che tale evoluzione costituisce nella cultura politica dello stato di diritto una «sorta di pre-condizione dell’emergere dei nuovi diritti di cittadinanza, intesi quale partecipazione consapevole e informata al processo decisionale pubblico» (Grandi 20022, 13). Nel secondo paragrafo verranno descritte gli ambiti di applicazione, le finalità, gli obiettivi e le strutture della comunicazione istituzionale disciplinate dalla legge n. 150/2000 e dai conseguenti regolamenti attuativi: il Portavoce, l’Ufficio stampa, l’Ufficio per le relazioni al pubblico. Come vedremo, si tratta di una normativa che rappresenta un punto di arrivo e un punto di partenza, in quanto, da un lato, se chiude il decennio delle riforme amministrative, d’altro lato, problematizza compiutamente per la prima volta il rapporto di comunicazione tra PA e cittadini e pone in evidenza tutte le difficoltà nell’implementare le norme nella realtà. Agli elementi critici della comunicazione istituzionale sono riservate le considerazioni conclusive: dal reclutamento e formazione del personale, al coordinamento delle strutture, dal persistere di mentalità burocratiche e autoreferenziale alla carenza di risorse. Il problema delle dotazioni organiche e finanziarie, in particolare, è molto sentito dalle amministrazioni di dimensioni più piccole, le quali spesso ricorrono alla “esternalizzazione” di attività degli uffici di comunicazione, non solo per la produzione editoriale, le campagne pubblicitarie e i servizi di gestione degli eventi, ma anche per il sito internet e i compiti di informazione più tradizionali. In tale situazione, la comunicazione istituzionale, pur dichiarata come strategica, rischia di rimanere un momento residuale dell’azione pubblica sia in termini di processo sia in termini di contenuto, slegata dagli obiettivi dell’organizzazione. (shrink)

For the past half-century, both jurisprudence and epistemology have been haunted by questions about why individual evidence (i.e., evidence which picks out a specific individual) can sufficiently justify a guilty or liable verdict while bare statistical evidence (i.e., statistical evidence which does not pick out a specific individual) does not sufficiently justify such a verdict. This thesis examines three popular justifications for such a disparity in verdicts – Judith Jarvis Thomson’s causal account, Enoch et al.’s sensitivity account, and Sarah (...) class='Hi'>Moss’ knowledge-first account, before critiquing each in turn. After such an analysis, the thesis then defends the claim that legal verdicts require the factfinder (e.g., the judge or jury) to have a justified de re belief (i.e., a belief about a specific object – namely the defendant), and that this doxastic requirement justifies the disparity in rulings, as it is epistemically insufficient to justify a de re belief based on bare statistical evidence alone. A brief account of how these beliefs are formed and spread is also given. After making such a distinction, the thesis then formalizes the burdens of proof of the preponderance of the evidence and beyond a reasonable doubt using the de re/de dicto distinction. Finally, the thesis pre-empts possible objections, namely by providing an account of DNA evidence as individual evidence and giving an account of how false convictions can occur on the de re view of legal proof. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a significant degree of (...) stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

If there is any consensus about knowledge in contemporary epistemology, it is that there is one primary kind: knowledge-that. I put forth a view, one I find in the works of Aristotle, on which knowledge-of – construed in a fairly demanding sense, as being well-acquainted with things – is the primary, fundamental kind of knowledge. As to knowledge-that, it is not distinct from knowledge-of, let alone more fundamental, but instead a species of it. To know that such-and-such, just like to (...) know a person or place, is to be well-acquainted with a portion of reality – in this case a fact. In part by comparing classic Gettier cases to cases in which one has true impressions of but fails to know a person, I argue that this account not only respects our intuitions about knowledge-that – in particular that it is or entails non-accidentally true justified belief – but also explains them, providing a compelling analysis. (shrink)

I argue that there can be appropriate aesthetic experiences even of basic somatic experiences like itches and scratches. I show, in relation to accounts of aesthetic experience offered by Carroll and Stecker, that experiences of itches and scratches can be aesthetic; I show that itches can be objects of attention in the way that normative accounts of the aesthetic often require; and I show, in relation to accounts of the aesthetic appreciation of nature offered by Carlson and Carroll, that aesthetic (...) experience of itches and scratches can be appropriate. I argue that attention to the domain of somatic experience is worthwhile, in that it offers the prospects of significant aesthetic satisfaction, and I suggest that even attention to unpleasant experiences like itches and pains may be aesthetically rewarding. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their (...) work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

This paper presents data on the representation of women at 98 philosophy departments in the United States, which were ranked by the Philosophical Gourmet Report (PGR) in 2015 as well as all of those schools on which data from 2004 exist. The paper makes four points in providing an overview of the state of the field. First, all programs reveal a statistically significant increase in the percentage of women tenured/tenure-track faculty, since 2004. Second, out of the 98 US philosophy departments (...) selected for evaluation by Julie Van Camp in 2004, none in 2015 has 50% women philosophy faculty overall, while one has 50% women who are tenured/tenure track. Third, as of 2015, there is a clear pyramidal shape to the discipline: Women are better represented as Assistant than Associate and as Associate than Full professors. Fourth, women philosophy faculty, especially those who are tenured/tenure track, are better represented at Non-PGR ranked programs than at PGR ranked and PGR Top-20 programs in 2015. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

I clarify the arguments of my paper “Scratching an Itch” in response to a discussion piece by Brian Soucek. I also offer a new argument that objectivity is possible for aesthetic judgments about private phenomena such as somatic experiences.

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...) how interpretation and meaning function in poems that use words in highly non-standard ways. In such poems, there are associations and implicatures that one can reasonably expect a suitably backgrounded reader to grasp, rescuing interpretation from being a purely subjective and arbitrary activity. (shrink)

According to Arthur Danto, it is illegitimate to seek a neutral, or pre-interpretative, description of an artwork, since such descriptions necessarily fail to respect the artwork as such. Instead, we must begin by interpreting, so as to constitute the work : interpretation is what distinguishes artworks from mere physical objects. In this paper, I argue that, while Danto is right to distance artworks from mere things, this can be done without suggesting that artworks are constituted by interpretation. Moreover, Danto’s view (...) leaves us unable to account for the fact that interpretations are constrained to be responsive to the work’s features. I demonstrate that, by appealing to conventions of description that are specific to art, it is possible to offer a neutral description that respects the work as an artwork. This view accords with our common sense understanding of the relation between description and interpretation, and avoids the unfortunate consequences of Danto’s theory. // Selon Arthur Danto, il est illégitime de chercher une description « neutre » ou préinterprétative d’une oeuvre d’art, parce qu’une telle description ne peut respecter l’oeuvre d’art en tant que telle. Nous ne pouvons aborder une oeuvre sans l’interpréter, puisque l’interprétation constitue l’oeuvre d’art et distingue celle-ci d’un simple objet physique. Dans cet article je soutiens que, bien que Danto ait raison de vouloir distinguer les oeuvres d’art des simples choses, on peut effectuer cette distinction sans conclure que les oeuvres d’art sont constituées par l’interprétation. Je soutiens en outre que le point de vue de Danto ne nous permet pas de tenir compte du fait que les interprétations doivent respecter les caractéristiques de l’oeuvre. Je montre qu’en faisant appel aux conventions de description spécifiques à l’art, on peut proposer une description neutre qui respecte l’oeuvre d’art en tant qu’oeuvre. Mon point de vue est conforme à la relation généralement admise entre la description et l’interprétation des oeuvres d’art, et évite les conséquences négatives de la théorie de Danto. (shrink)

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

As aesthetic beings, we are receptive to and engaged with the sensuous phenomena of life while also knowing that we are targets of others’ awareness: we are both aesthetic agents and aesthetic objects. Our psychological health, our standing within our communities, and our overall wellbeing can be profoundly affected by our aesthetic surroundings and by whether and how we receive aesthetic recognition from others. When our embodied selves and our cultural products are valued, and when we have rich opportunities for (...) aesthetic experience and for the exercise of aesthetic agency, the aesthetic can foster and sustain wellbeing and help to make our lives worthwhile. But when we are subjected to aesthetic blight, restriction of our aesthetic agency, and aesthetic devaluing of our embodied selves and our communities’ cultural products, the aesthetic can do great harm: such aesthetic maneuvers play a significant role in oppression and social hierarchy related to race, gender, fatness, and disability. This essay explores the notions of aesthetic objects and aesthetic agents, their relations with each other, and the unique affordances of persons’ status as simultaneously aesthetic objects and aesthetic agents. It examines the prospects for bodily aesthetic experience to promote wellbeing and, at the end, considers how the aesthetic might play a role in establishing forms of mutual vulnerability and recognition to combat oppressive social hierarchies. (shrink)

Many tasks in statistical and causal inference can be construed as problems of entailment in a suitable formal language. We ask whether those problems are more difficult, from a computational perspective, for causal probabilistic languages than for pure probabilistic (or “associational”) languages. Despite several senses in which causal reasoning is indeed more complex—both expressively and inferentially—we show that causal entailment (or satisfiability) problems can be systematically and robustly reduced to purely probabilistic problems. Thus there is no jump in computational complexity. (...) Along the way we answer several open problems concerning the complexity of well-known probability logics, in particular demonstrating the ${\exists \mathbb {R}}$ -completeness of a polynomial probability calculus, as well as a seemingly much simpler system, the logic of comparative conditional probability. (shrink)

What makes a photograph an artwork, as opposed to a mere document? I defend a cluster account such that aesthetic value, aptness to interpretation, the artist’s intention and institutional uptake may contribute to the arthood of a body of photographs, with no single condition being necessary. With regard to Lawler’s works, I suggest that Lawler’s intention that they be art plays a definitive role because of the works’ resemblance to non-art photography. For some of her photographs, however, it appears that (...) such an intention is absent; and if this is correct, then, given their other features, those photographs are not artworks. (shrink)

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

I discuss two interrelated ways in which disgust functions in motherhood. First, relaxation of the mother’s sense of disgust allows her to nurture her child more effectively. Second, others’ responses of disgust are used to enforce social norms regarding the “good” mother. If the mother acquiesces, she must continually monitor and tidy her child, which may interfere with the child’s exploration of the world. If she does not, she is subject to ongoing signs that she is flawed or failing as (...) a mother. (shrink)

I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...) dramatic literature. In such cases, we should say both that the performance itself is an artwork and that it is a performance of some literary work. I suggest that this way of understanding things promotes appreciation of both performances themselves and the dramatic works of literature that are employed in their creation. (shrink)

Repeatable artworks, such as novels and musical works, have often been construed as universals whose instances are particular printings or performances. In Art and Art-Attempts, Christy Mag Uidhir offers a nominalist account of repeatable artworks, eschewing talk of universals. Mag Uidhir argues that all artworks are concrete, and artworks that we regard as repeatable are simply unified by a relevant similarity relation: we use the name Beloved to refer to two concrete printed novels because they are relevantly similar to each (...) other and to certain other printings that are the product of Toni Morrison’s art-attempt. I discuss two potential difficulties for Mag Uidhir’s notion of relevant similarity: a difficulty related to appropriation, and a difficulty related to the fact that musical performances are often the product of distinct art-attempts by the composer and by the performer. I suggest that both difficulties could be addressed by enriching the notion of relevant similarity by appeal to the artist’s specification of which similarities are essential for two works to count as relevantly similar. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...) fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

The culturally pervasive tendency to identify aspects of the body as aesthetically imperfect harms individuals and scaffolds injustice related to disability, race, gender, LGBTQ+ identities, and fatness. But abandoning the notion of imperfection may not respect people’s reasonable understandings of their own bodies. I examine the prospects for a practice of aesthetic assessment grounded in a notion of the body’s function. I argue that functional aesthetic assessment, to be respectful, requires understanding the body’s functions as complex, malleable, and determined by (...) the projects and interests of the person whose body it is. Aesthetically relevant functions, on this account, are determined neither by the body’s status as organism nor by cultural assumptions about how bodies should function or be used. (shrink)

Deduction is important to scientific inquiry because it can extend knowledge efficiently, bypassing the need to investigate everything directly. The existence of closure failure—where one knows the premises and that the premises imply the conclusion but nevertheless does not know the conclusion—is a problem because it threatens this usage. It means that we cannot trust deduction for gaining new knowledge unless we can identify such cases ahead of time so as to avoid them. For philosophically engineered examples we have “inner (...) alarm bells” to detect closure failure, but in scientific investigation we would want to use deduction for extension of our knowledge to matters we don’t already know that we couldn’t know. Through a quantitative treatment of how fast probabilistic sensitivity is lost over steps of deduction, I identify a condition that guarantees that the growth of potential error will be gradual; thus, dramatic closure failure is avoided. Whether the condition is fulfilled is often obvious, but sometimes it requires substantive investigation. I illustrate that not only safe deduction but the discovery of dramatic closure failures can lead to scientific advances. (shrink)

In Pietroski ( 2018 ) a simple representation language called SMPL is introduced, construed as a hypothesis about core conceptual structure. The present work is a study of this system from a logical perspective. In addition to establishing a completeness result and a complexity characterization for reasoning in the system, we also pinpoint its expressive limits, in particular showing that the fourth corner in the square of opposition (“ Some_not ”) eludes expression. We then study a seemingly small extension, called (...) SMPL +, which allows for a minimal predicate-binding operator. Perhaps surprisingly, the resulting system is shown to encode precisely the concepts expressible in first-order logic. However, unlike the latter class, the class of SMPL + expressions admits a simple procedural (context-free) characterization. Our contribution brings together research strands in logic—including natural logic, modal logic, description logic, and hybrid logic—with recent advances in semantics and philosophy of language. (shrink)

According to a widely shared intuition, normal adult humans require greater moral concern than normal, adult animals in at least some circumstances. Even the most steadfast defenders of animals' moral status attempt to accommodate this intuition, often by holding that humans' higher-level capacities (intellect, linguistic ability, and so on) give rise to a greater number of interests, and thus the likelihood of greater satisfaction, thereby making their lives more valuable. However, the moves from capacities to interests, and from interests to (...) the likelihood of satisfaction, have up to now gone unexamined and undefended. I argue that context plays a morally significant role both in the formation of an individual's capacities, and in the determination of the individual's interests and potential for satisfaction based on those capacities. Claims about an individual's capacities and interests are typically presented as unconditional; but on closer examination, they are revealed to be contingent on tacit assumptions about context. Until we develop an understanding of how to account for the role of context within our moral theories, attempts to defend special moral concern for human beings based on their superior capacities are less firmly grounded than is commonly thought. (shrink)

Abstract: Many believe that, in addition to cognitive capacities, autonomous robots need something similar to affect. As in humans, affect, including specific emotions, would filter robot experience based on a set of goals, values, and interests. This narrows behavioral options and avoids combinatorial explosion or regress problems that challenge purely cognitive assessments in a continuously changing experiential field. Adding human-like affect to robots is not straightforward, however. Affect in organisms is an aspect of evolved biological systems, from the taxes of (...) single-cell organisms to the instincts, drives, feelings, moods, and emotions that focus human behavior through the mediation of hormones, pheromones, neurotransmitters, the autonomic nervous system, and key brain structures. We argue that human intelligence is intimately linked to biological affective systems and to the unique repertoire of potential behaviors, sometimes conflicting, they facilitate. Artificial affect is affect in name only and without genes and biological bodies, autonomous robots will lack the goals, interests, and value systems associated with human intelligence. We will take advantage of their general intelligence and expertise, but robots will not enter our intellectual world or apply for legal status in the community. -/- . (shrink)

This reference essay surveys recent work in the emerging sub-discipline of everyday aesthetics, which builds on the work of John Dewey to resist sharp distinctions between art and non-art domains and argue that aesthetic concepts are properly applied to ordinary domains of experience.

From his earliest work forward, phenomenologist Maurice Merleau-Ponty attempted to develop a new ontology of nature that would avoid the antinomies of realism and idealism by showing that nature has its own intrinsic sense which is prior to reflection. The key to this new ontology was the concept of form, which he appropriated from Gestalt psychology. However, Merleau-Ponty struggled to give a positive characterization of the phenomenon of form which would clarify its ontological status. Evan Thompson has recently taken up (...) Merleau-Ponty’s ontology as the basis for a new, “enactive” approach to cognitive science, synthesizing it with concepts from dynamic systems theory and Francisco Varela’s theory of autopoiesis. However, Thompson does not quite succeed in resolving the ambiguities in Merleau-Ponty’s account of form. This article builds on an indication from Thompson in order to propose a new account of form as asymmetry, and of the genesis of form in nature as symmetry-breaking. These concepts help us to escape the antinomies of Modern thought by showing how nature is the autoproduction of a sense which can only be known by an embodied perceiver. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...) when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)